August, 2012 CD of the Month

Honestly, what’s not to like about JD McPherson? The teacher turned rocker dials up a sound reminiscent of rock and roll’s early days on Signs & Signifiers, his first album. His style and attitude are both representative of those times, but noticeably his influences run the gamut from rockabilly to soul, from punk to hip-hop. It’s that combination of appreciation and living in present that makes Signs & Signifiers an absolute gem.

As the story goes McPherson was an art teacher working in Tulsa, Oklahoma and writing songs in his spare time. He began collaborating with producer and bassist Jimmy Sutton who was based in Chicago. After JD was laid off from his teaching gig, he packed up his gear and headed to Chicago to work on the songs that now make up Signs & Signifiers. From the opening notes of the infectious hip-shaker “North Side Gal” to the steady beat of the title track, it’s clear that McPherson is on to something special. The album is recorded as it should be. McPherson’s old-timey vision for song is met with Sutton’s liking for a more throwback studio style. Fixed with vintage microphones and recorded right to tape, these songs have the warmth and character that they so require.

For McPherson it really all boils down to a rawness that is not just hard to find these days, but almost impossible to create. While the sound of these songs is so familiar, the word ‘derivative’ just never comes to mind as you listen. And that’s because these songs have guts and McPherson and his band mates put every ounce of emotion into every take. It’s sticks and stones rock and roll with a heart and a pulse.

February, 2012 CD of the Month

Since her debut, Failer, in 2003 it's hard to be critical of the work of Kathleen Edwards. As a songwriter, as an artist she's never really taken a step backwards. As listeners we can argue over our favorites, but it's a fair to say that each album has matched a certain level of expectations if not surpassed them. And with that the Canadian songstress continues a career trajectory on the rise with her new album, Voyageur, but at the same time broadens our expectations.

While Edwards has been praised by fans and critics for nearly a decade, she's still somewhat a little treasure to music fans. The type of artist that we know one day family and friends will discover, but for now we cherish as our own. The same can't be said for Edwards' collaborator on Voyageur. Much has been made about the fact that Justin Vernon (Bon Iver) became a musical guide for Edwards on this album. Last year was a big year for Justin, his album Bon Iver, Bon Iver was an overwhelming success that includes Grammy nods next month. It made many wonder how his dreamy and expansive soundscapes would mesh with Edwards alt-country lean? The truth of Voyaguer is that Vernon's presence can be felt, but Edwards can't be overshadowed. So much of what we gravitated towards on her first few albums is what draws you in again on this latest collection. She can be clever and funny as on the opening track "Empty Threat" where you may question her sincerity about 'moving to America.' She paints heartbreaking love and loss on songs like "Pink Champagne." And she's near anthemic on "Change the Sheets."

Vernon co-produced the album with Edwards and plays on nearly every song, but his main credit may be simply inspiring Edwards to broaden the way she approaches writing and recording. In addition to Justin, Kathleen welcomes a number of other musicians into the fold on Voyageur. Those includes Long Winters frontman and songwriter John Roderick whose presence is substantial. He plays on a number of songs and even co-wrote a couple with Edwards. The Scottish band Stornoway play on Voyageur and Norah Jones adds some backing vocals on the album's closing number "For The Record."

Perhaps only the fantasy duo of King Kong and Bambi could be a more bizarre pairing than Robert Plant and Alison Krauss. Yet on Raising Sand, their haunting and brilliant collaboration, the Led Zeppelin screamer and Nashville's most hypnotic song whisperer seem made for each other. This, however, is not the howling Plant of "Whole Lotta Love," but a far more precise and softer singer than even the one who emerged with Dreamland (2002).

No matter that Plant seems so subdued as to be on downers, for that's one of the keys to this most improbable meeting of musical galaxies - almost all of it seems slowed down, out of time, otherworldly, and at times downright David Lynch-ian, the product of an altered consciousness. Yet probably the main reason it all works so well is the choice of producer T-Bone Burnette, the third star of the album, who culled mostly lesser-known material from some of the great writers of blues, country, folk, gospel, and R&B, including Tom Waits, Townes Van Zandt, Milt Campbell, the Everly Brothers, Sam Phillips, and A.D. and Rosa Lee Watson. At times, Burnette's spare and deliberate soundscape - incisively crafted by guitarists Marc Ribot and Norman Blake, bassist Dennis Crouch, drummer Jay Bellerose, and multi-instrumentalist Mike Seeger, among others - is nearly as dreamy and subterranean as Daniel Lanois's work with Emmylou Harris (Wrecking Ball). Occasionally, Burnette opts for a fairly straightforward production while still reworking the original song (Plant's own "Please Read the Letter," Mel Tillis's "Stick with Me, Baby"). But much of the new flesh on these old bones is oddly unsettling, if not nightmarish. On the opening track of "Rich Woman," the soft-as-clouds vocals strike an optimistic mood, while the instrumental backing--loose snare, ominous bass line, and insinuating electric guitar lines--create a spooky, sinister undertow. Plant and Krauss trade out the solo and harmony vocals, and while they both venture into new waters here (Krauss as a mainstream blues mama, Plant as a gospel singer and honkytonker), she steals the show in Sam Phillips' new "Sister Rosetta Goes Before Us," where a dramatic violin and tremulous banjo strike a foreboding gypsy tone. When Krauss begins this strange, seductive song in a voice so ethereal that angels will take note, you may stop breathing. That, among other reasons, makes Raising Sand an album to die for.

By Alanna Nash, Amazon.com

Featured Album of the Week October 15, 2007 | CD of the Month December 2007

Honestly, what’s not to like about JD McPherson? The teacher turned rocker dials up a sound reminiscent of rock and roll’s early days on Signs & Signifiers, his first album. His style and attitude are both representative of those times, but noticeably his influences run the gamut from rockabilly to soul, from punk to hip-hop. It’s that combination of appreciation and living in present that makes Signs & Signifiers an absolute gem.

As the story goes McPherson was an art teacher working in Tulsa, Oklahoma and writing songs in his spare time. He began collaborating with producer and bassist Jimmy Sutton who was based in Chicago. After JD was laid off from his teaching gig, he packed up his gear and headed to Chicago to work on the songs that now make up Signs & Signifiers. From the opening notes of the infectious hip-shaker “North Side Gal” to the steady beat of the title track, it’s clear that McPherson is on to something special. The album is recorded as it should be. McPherson’s old-timey vision for song is met with Sutton’s liking for a more throwback studio style. Fixed with vintage microphones and recorded right to tape, these songs have the warmth and character that they so require.

For McPherson it really all boils down to a rawness that is not just hard to find these days, but almost impossible to create. While the sound of these songs is so familiar, the word ‘derivative’ just never comes to mind as you listen. And that’s because these songs have guts and McPherson and his band mates put every ounce of emotion into every take. It’s sticks and stones rock and roll with a heart and a pulse.

Since her debut, Failer, in 2003 it's hard to be critical of the work of Kathleen Edwards. As a songwriter, as an artist she's never really taken a step backwards. As listeners we can argue over our favorites, but it's a fair to say that each album has matched a certain level of expectations if not surpassed them. And with that the Canadian songstress continues a career trajectory on the rise with her new album, Voyageur, but at the same time broadens our expectations.

While Edwards has been praised by fans and critics for nearly a decade, she's still somewhat a little treasure to music fans. The type of artist that we know one day family and friends will discover, but for now we cherish as our own. The same can't be said for Edwards' collaborator on Voyageur. Much has been made about the fact that Justin Vernon (Bon Iver) became a musical guide for Edwards on this album. Last year was a big year for Justin, his album Bon Iver, Bon Iver was an overwhelming success that includes Grammy nods next month. It made many wonder how his dreamy and expansive soundscapes would mesh with Edwards alt-country lean? The truth of Voyaguer is that Vernon's presence can be felt, but Edwards can't be overshadowed. So much of what we gravitated towards on her first few albums is what draws you in again on this latest collection. She can be clever and funny as on the opening track "Empty Threat" where you may question her sincerity about 'moving to America.' She paints heartbreaking love and loss on songs like "Pink Champagne." And she's near anthemic on "Change the Sheets."

Vernon co-produced the album with Edwards and plays on nearly every song, but his main credit may be simply inspiring Edwards to broaden the way she approaches writing and recording. In addition to Justin, Kathleen welcomes a number of other musicians into the fold on Voyageur. Those includes Long Winters frontman and songwriter John Roderick whose presence is substantial. He plays on a number of songs and even co-wrote a couple with Edwards. The Scottish band Stornoway play on Voyageur and Norah Jones adds some backing vocals on the album's closing number "For The Record."

With the release of their two acclaimed albums Hollywood Town Hall and Tomorrow The Green Grass in the early 90s The Jayhawks cemented themselves as essential listening for fans of alt-country and rock. After the release of Tomorrow The Green Grass in 1995 Mark Olsen decided to part ways leaving Gary Louris to head the band and fans to long for a reunion. While solo projects, reissues and retrospectives have been released to help ease the yearning of fans, it's safe to say that the arrival of Mockingbird Time will satisfy that itch. This album marks the return of The Jayhawks and the first time in nearly 16 years that the original line-up is back together.

For The Jayhawks Mockingbird Time begs once again to find that natural chemistry between Olsen and Louris. The two vocalists co-wrote the album together and Louris served as the album’s producer. The results are stellar. The Jayhawks have always had a knack of making it sound easy. Just listen to “Pouring Rain at Dawn”, a little folksy song towards the back end of the album. It’s sweet, poetic and Louris & Olsen just make it sound effortless. Same can be said for the album’s first single “She Walk In So Many Ways” whose lyrical density is beyond its 2 and a half minute runtime.

Songwriting partnerships like Olsen and Louris are rare. And it should be noted again, that all the original members are back for Mockingbird Time, including Tim O’Reagan on drums, Marc Perlman on bass and Karen Grotberg on keys. But in terms of Olsen and Louris, they are rather determined to rekindle their magic on Mockingbird Time and there are plenty of moments that sound like timeless Jayhawks.

Buy this CD, Mockingbird Time
at Amazon.com. Your purchase that starts here, supports public radio station, WXPN.

As we usher in a new year and anticipate new musical discoveries, it’s an unmistakable voice that’ll be first to grab your ears. Low Country Blues is the first solo album from Allman Brothers founding member Gregg Allman in nearly 14 years. Along with a decorated cast of musicians, including producer T-Bone Burnett, Allman delivers a book of songs steeped in rhythm and blues yet with his own unique signature.

Admittedly, before even listening to the album it seems like this story has already been written. A heritage artist connects with T-Bone Burnett, who brings in the likes of drummer Jay Bellerose and bassist Dennis Crouch to play on the album and settles into a more acoustic, down-to-earth environment. And the results are stunning, right? For the most part, yes. Although on Low Country Blues the music radiates as something much more than formulaic. Perhaps it’s the admiration for the blues greats like Muddy Waters or Junior Wells of whom Allman covers, but the music on Low Country Blues is honest and spirited.

And as much as the song selection suites Allman simply put he sounds great. An original co-write with Warren Haynes titled "Just Another Rider" offers us that trademark southern vocal filled with longing and wonder that it feels like only Allman is capable. From top to bottom on Low Country Blues it feels like each song is a ‘can’t miss moment’ and it’s easy to declare this as a defining album in the career of Gregg Allman.

On the title track to her new album Madeleine Peyroux leaves us with these parting words "...the truth itself, nothing but a gamble / it might or might not set you free / but in these bare bones there's something lovely after all..." While interpretation will vary, one thing is for sure, and that's that Peyroux did indeed take a gamble on Bare Bones, attempting something she's never done before.

On her previous two releases, Careless Love and Half the Perfect World, Peyroux gained critical praise for her jazzy takes on music from a variety of genres. However, on Bare Bones, Peyroux writes or is a co-writer on every song. And after you listen, you'll scratch your head wondering, "why did she wait until now?" If you're familiar with her previous works, the difference is immediately noticeable and not just because all the songs are new. Bare Bones has a different feel, a truer sense of connection with the artist.

Everything else on Bare Bones is pretty consistent. Larry Klein is again producing and stylistically the album is in line with her last few releases. Peyroux's leap into songwriting is once again the key. On songs like "You Can't Do Me", there is a confident swagger, even some humor - sides of her that weren't always available. It's always difficult to predict a verdict when an artist rolls the dice like Peyroux has, but in this case I like the odds.

Delta Spirit's Ode To Sunshine has more in common with like rock traditionalists such as The Hold Steady than your typical "we-heard-it-first-'cause-we're-cool" shooting star band that the almighty music blogosphere seems to love then leave with alarming frequency these days. There's something timeless and soulful happening here, something with some staying power.

The San Diego quintet has a lot of things going for them, not the least of which is a passionate, soulful naiveté that emerges from almost every song. Singer Matthew Vasquez sounds like he means it, and their music seems to strive for a place where innovation and a sense of historical homage can co-exist. From the keyboard driven first single "Trashcan" to the Brit-popish "People C'mon" to the anxious, driving "Children", Delta Spirit will surprise you with their – well – spirit. The album's opening track "Tomorrow Goes Away" sounds like an outtake from the McCartney album. The title track is a loose, soulful waltz that shows the band's obvious talent for building drama, with a timeless melodic payoff. "Parade" is just a great track, with a slightly off kilter guitar run that's guaranteed to make you smile.

Yeah... I like this quite a bit. Delta Spirit is a band that sounds like they could take us with them on a long journey, not just a dizzying ascent and drop.

Perhaps only the fantasy duo of King Kong and Bambi could be a more bizarre pairing than Robert Plant and Alison Krauss. Yet on Raising Sand, their haunting and brilliant collaboration, the Led Zeppelin screamer and Nashville's most hypnotic song whisperer seem made for each other. This, however, is not the howling Plant of "Whole Lotta Love," but a far more precise and softer singer than even the one who emerged with Dreamland (2002).

No matter that Plant seems so subdued as to be on downers, for that's one of the keys to this most improbable meeting of musical galaxies - almost all of it seems slowed down, out of time, otherworldly, and at times downright David Lynch-ian, the product of an altered consciousness. Yet probably the main reason it all works so well is the choice of producer T-Bone Burnette, the third star of the album, who culled mostly lesser-known material from some of the great writers of blues, country, folk, gospel, and R&B, including Tom Waits, Townes Van Zandt, Milt Campbell, the Everly Brothers, Sam Phillips, and A.D. and Rosa Lee Watson. At times, Burnette's spare and deliberate soundscape - incisively crafted by guitarists Marc Ribot and Norman Blake, bassist Dennis Crouch, drummer Jay Bellerose, and multi-instrumentalist Mike Seeger, among others - is nearly as dreamy and subterranean as Daniel Lanois's work with Emmylou Harris (Wrecking Ball). Occasionally, Burnette opts for a fairly straightforward production while still reworking the original song (Plant's own "Please Read the Letter," Mel Tillis's "Stick with Me, Baby"). But much of the new flesh on these old bones is oddly unsettling, if not nightmarish. On the opening track of "Rich Woman," the soft-as-clouds vocals strike an optimistic mood, while the instrumental backing--loose snare, ominous bass line, and insinuating electric guitar lines--create a spooky, sinister undertow. Plant and Krauss trade out the solo and harmony vocals, and while they both venture into new waters here (Krauss as a mainstream blues mama, Plant as a gospel singer and honkytonker), she steals the show in Sam Phillips' new "Sister Rosetta Goes Before Us," where a dramatic violin and tremulous banjo strike a foreboding gypsy tone. When Krauss begins this strange, seductive song in a voice so ethereal that angels will take note, you may stop breathing. That, among other reasons, makes Raising Sand an album to die for.

By Alanna Nash, Amazon.com

Featured Album of the Week October 15, 2007 | CD of the Month December 2007